John Bock. Ohr-Walachei, Galerie Klosterfelde Berlin, 2011
Nothing Will Have Taken Place but the Place (3rd revised edition). Single-channel digital video HD; format 16:9; 5´22
Foster, Hal; Krauss, Rosalind; Buchloh, Benjamin H. D., Bois, Yve-Alain (2006): ´Cinema as an archive´. In: Art since 1900. Modernism, Antimodernism, Postmodernism. Madrid: Akal S.A
“The traditional art media are all defined by a specific material support: canvas, stone, or film. Now, the material support of the medium of the installation is the space itself. That does not mean, however, that the installation is somehow ‘immaterial.’ On the contrary, the installation is material par excellence, since it is spatial – and being in the space is the most general definition of being material.”
Truth is not the secret of a few by Lawrence Ferlinghetti
‘Truth is not the secret of a few’
yet
you would maybe think so
the way some
librarians
and cultural ambassadors and
especially museum directors
act
you’d think they had a corner
on it
the way they
walk around shaking
their high heads and
looking as if they never
went to the bath
room or anything
But I wouldn’t blame them
if I were you
They say the Spiritual is best conceived
in abstract terms
and then too
walking around in museums always makes me
want to
‘sit down’
I always feel so
constipated
in those
high altitudes
EXCURSUS: SPACE UNDER PRESSURE IN THE POSTMODERN CITY “All spatialities are political because they are the (covert) medium and (disguised) expression of asymmetrical relations of power.” KEITH AND PILE, 1993: 220 “Space, then, has a history… It is a product of representations.” BURGIN, 1990: 108 Literal aswell as figurative ways of seeing and naming the city are grounded in the spatial, Mahoney states. The omnipresence of the spatial sphere is probably the source of my upcoming thesis. from: The Cinematic City. Edited by David B. Clarke. Essay by Elisabeth Mahoney.
The first research considering my upcoming semester thesis is an architectural exegesis on the question of support that is surprisingly based on Per Hüttners exhibition project I am a curator. It defines support strucure as follwing:
Support Structure is an architectural interface. Support Structure aims to create a space which is continuously reinvented by its users in relation to its context. Support Structure houses artefacts as well as activities and aids reconsideration of existing spaces as an impulse for future change. Support Structure is an evolving collaborative project between architect Celine Condorelli and artist-curator Gavin Wade. Our aim is to design and create a universally adaptable support structure that approaches the specific rather than the generic. To achieve this we are putting Support Structure through a learning process.
from: http://www.supportstructure.org/
THE GAMES WE PLAY is a project run by the edinburgh college of art during the shop from 13th to 16th december 2011. Every student was allocated a playing card with which he was supposed to create a piece of work - I got the 7 of diamonds. Not having any sufficient associations with that card I opened page 7 of the book closest to my desk which appeared to be JAY-Zs Decoded. The pages, in my eyes, most striking line reads:
My actual contribution to the project is the above video. Listening to the clean version of one of JAY-Zs best songs and a milestone in the history of rap and hip hop 99 Problems (brilliant music video by Mark Romanek; music produced by the great Rick Rubin) on YouTube, I found my self amazed by how illogical the censorship of especially this song was. Seeing JAY-Z as a young kid gradually adopting a more elaborate vocab on the one hand, this censorship takes the essence of one of his greatest hits within one move.
The video displays all 36 censored cutouts in their chronological order for three times.
Welcome in the market and efficiency driven, liberalized and globalised world. In the year 2011 you can in fact buy Kula necklaces on ebay.
Something like the actual Kula Exchange System, some dynamic and open exchange system of either material or immaterial value, some - however not restricted to any specific culture group and not monopolised but open for participation - communication and exchange concept should really be applied to contemporary art. If no one else does it, then I will.
